African Rhythmic Identity and Creativity Art in Pepeye Owubantutu: A Yoruba Folksong Arrangement By Debo Akinwumi

David Bolaji

doi:10.7176/rhss/9-6-08

Abstract

The creativity and uniqueness of modern African art composers in using the indigenous musical materials stand as media for revealing the African rhythmic identity, artistic ingenuity, cultural features, and the schools of thought of the composer(s). The distinctive expression continuum of a modern African art composer presents the skilful arts and intellectual ability of the composer, via his/her work(s). In view of this background, the Yoruba folksong arrangement of Pepeye Owubantutu for voices, (Soprano, Alto, Tenor, Bass) by Debo Akinwumi, reveals the uniqueness of African rhythmic identity found in the Yoruba milieu. Empirical research method was used by the researcher to justify the thrust and findings of this study. The study serves as educative resource material to the young modern art composers. It exposes diverse compositional techniques which can be used in adopting and applying the indigenous folksong into modern art music. Furthermore, it suggests strategies for building art composers to adopt and promote African rhythm in their art compositional works. Keywords : Folksongs, Creativity, Indigenous and African rhythm identity . DOI : 10.7176/RHSS/9-6-08 Publication date :March 31 st 2019

Highlights

The introspective aim of every modern African art composer that uses indigenous materials/folksongs in art compositional style is not to propagate the acculturation of Western and African idioms alone
Using a microscopic gamut to dissect and analyse the content of the composition under study, one could conclude that the folksong arrangement of Pepeye Owubantutu by Debo Akinwumi affirms and reflects the embodiments of Africanism; meaning that, the encapsulation of African rhythmic identity and other musical elements via the application of Akinwumi’s creativity in his folksong arrangement, characterizes and presents the indigenous musical attributes of the Western Nigeria (Yoruba), as displayed through his compositional germs
In an attempt to justify the thrust of this study, four different rhythmic structures were identified within the circumference of the composition under study. These include: pre-model rhythmic harmonic rule of principal voice, complementary rhythmic movement, recurrence rhythmic movement and subjective rhythmic pattern. These identified rhythmic patterns were revealed and noted as strong rhythmic patterns that are peculiar and www.iiste.org rooted within the African music

Summary

Introduction

The introspective aim of every modern African art composer that uses indigenous materials/folksongs in art compositional style is not to propagate the acculturation of Western and African idioms alone. Onyeji (2016) affirms that, music in Africa serves as an inevitable form that presents and sustains the socio-cultural norms and values that characterise the coexistence of a particular culture. He identifies folksong as a notable genre, among others that constitutes the phenomenon of music in Africa. Using a microscopic gamut to dissect and analyse the content of the composition under study, one could conclude that the folksong arrangement of Pepeye Owubantutu by Debo Akinwumi affirms and reflects the embodiments of Africanism; meaning that, the encapsulation of African rhythmic identity and other musical elements via the application of Akinwumi’s creativity in his folksong arrangement, characterizes and presents the indigenous musical attributes of the Western Nigeria (Yoruba), as displayed through his compositional germs. Www.iiste.org particular attribute is as well found in the Sub-Saharan region of Africa in the Southern Nigeria among the Igbo. (Nzewi 1991 and Onyeji, 2016.)

African Rhythmic Identity

Conclusion

The Compositions under Reference